The light source in this image of a lamp filtered neutral in the darkroom printing process turns the rest of the image blue (since artificial light is yellow). The photograph points to the difference between perceived and actual light temperature.

framing the horizon consists of two spatial elements creating a physical detour as well as a visual interruption within the space. They are constructed according to the dimension of the largest passageway of the gallery and would - if put together - fill it completely.

A second hand in wrist watch size (19mm in length and <1mm in width) is ticking on a wall. The clockwork is implanted in the wall and therefore invisible. A steady representation of time ticking, the implant can easily be overlooked due to its’ size.

The temperature of sunlight is perceived as warm and friendly, but the measurement of its light temperature (5500 Kelvin) states the opposite: it is blue / cold. The diptych shows an inversion of this perception: a blue sun and a yellow sky.

The built-in wall diagonally splits each half of the u-shaped space. As only the back side of this new wall is used for display, the visitor’s movement through the space is artificially prolonged. In the first newly built space on the back side an exposed and an unexposed anaolgue photographic paper are facing and mirroring each other. The second back space on the opposite side shows an enlarged excerpt from an exposed photo-paper that has been taken from the developer when showing first signs of darkening. Nothing has been photographed, the structure has solely been created by the liquid photochemistry. The result is a chance state of a grayscale, an in-between of the black and white displayed on the first side.

In addition to the installation there is a booklet showing different examples of the taken from the developer - series: photographic papers that have all been treated the same way and where the developing process was interrupted when it first becomes visible. Within the booklet there is a business card on developed-but-not-fixed photographic paper, which starts to change color when exposed to light.

The photograph was taken in a room brightly lit by a photographic light. Through experiments with the exposure time (basically choosing the wrong exposure time) the space disappears entirely and only the bottom of the photo light’s reflector umbrella stays visible.

The blue color of the print has been created artificially through filters in the darkroom in reference to the color of the New York sky in the hour of dusk. Just before darkness is also the time when the photograph of the two nails on the (white) studio wall has been taken, as they were seemingly glowing while refelcting the last day-light. The nails are unspectacular protagonists, metaphorical placeholders for possible images while being the image themselves.

The simple form of a cuboid is split in its spatial diagonal. The two resulting sculptural pieces are presented separately when exhibited, one of them black and the other one white. Like two pieces of a puzzle, that can be put together in the viewer’s head.

The photograph shows a reflection of the studio in an aluminum plate. As described in the title the different colors of the gradient abstractly represent the characteristics of the space (such as trees and sky outside the windows and furniture and tools inside). At proximity the materiality of the photographed becomes recognisable through scratches visible in the metal’s surface. Finally, the photograph is mounted on aluminum to be displayed, so that the source material also is the carrier in the end.